There are two ships, one the real, the other is a ,metaphor. Actually there are a lot of metaphors, as contrasted to the conventional ones, and we know convention how it is created by societal agreement, and that becomes very real.
Among metaphorical ships there are many which come to mind are two ships passing in the night, the ship of fools, the ghostly ship in fliegende hollander, titanic the great film, and all historical ships : the barge cleopatra sailed in, and in addition shipping as used in the modern vernicular , including shipping and receiving. The convention has to specify what the ship is, as well, it is as broad as it can be, and reverting to the most basic meaning is the primary function of language, as You so rightly point out.
However, Plato points to a far wider scope the question ,'what is a ship, or what is the good, or what is the beautiful or the just' This signifying or trying to signify has been taken up by the postmoderns themselves, within a very much diminished context. That is the problem with postmodern philosophy it's possible range may not accommodate a goal oriented vector analysis, because the goals cannot outsource the means.
But before i get carried away with over flourishing and over embellished seemingly presumptuously instructive type language, i will regain my footing and excuse this digression as my way of connecting to what i intended in the first place, the metaphoric ship.
The best ever, example for this , is the Flying Dutchman, the first Wagnerian Opera, one of the shortest. This metaphoric ghostly journey, of intermittent stops to quasi real ports of call, to experience the need for a redemptive recurrent need for love, is almost the paradigm for the idea that reality (ports of call with real human objects of love) and the total metaphor of the cruelty and vagrancies of the sea, at times at odds with each other. It is in this sense the ghost and the human come in contact. The ship, the metaphor is far more encompassing, to give an example than the pitifully short time we individually inhabit this world during our lifetime, and is almost pathetic compared with the 2000 years during which man has become aware of himself within the vast timeframe of history. Later much later, to become aware of the cosmos as timeless,has been foreseen in antiquity, and in this sense, we lost this sense of wonder , due partly to the reductive way science reduced the primary vision to a conventional formula. A German US philosopher, Marcuse during the heyday of new left in the sixties said as much in a book titled' 'One Dimensional Man.'
The extended point is, that Plato and his followers deserve a hearing, and conventional, linguistic interpretation may augment analysis of what a ship means, or on what basis two ships may be compared, but this does not get rid of the metaphor, the need, for not only functional, but the other two categories You brought up as the basis for comparison.
The Flying Dutchman is Wagner's most optimistic opera, occasionally revealing an understanding of relationship between reality and fantasy, the old and the new, an effort to set up by need ,a synthesis, in order to avert a complete disassociation. This is in vogue of the premiss that life imitates art, against which it has lost much of it's contest.